Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Congo and from Beijing.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1961 to 1975.
I'm losing my edge.
To all the kids in Jakarta and Johannesburg.
I'm losing my edge to the art-school Portland kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1979 at the first Second Layer practice in a loft in South London.
I was working on the güiro sounds with much patience.
I was there when Holger Czukay started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Joe Smooth to the electroclash kids.
I played it at the 40 Watt.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Boredoms. All the underground hits.
All Peter & Gordon tracks. I heard you have a vinyl of every The Kinks record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harpers Bizarre,
Qualms,
Barbara Tucker,
Harmonia,
Lou Reed & John Cale,
Massinfluence,
The Count Five,
Charles Mingus,
Grandmaster Flash,
Gang Green,
The Fortunes,
Sixth Finger,
Wire,
Black Bananas,
Stereo Dub,
Stetsasonic,
London Community Gospel Choir,
Depeche Mode,
Hot Snakes,
The Mighty Diamonds,
The Index,
The Fuzztones,
Joe Smooth,
Jandek,
Janne Schatter,
The Gun Club,
Echospace,
Rapeman,
Banda Bassotti,
The Stooges,
Faust,
De La Soul & Jungle Brothers,
D'Angelo,
Moebius,
X-Ray Spex,
Liliput,
Nico,
Amon Düül,
Anthony Braxton,
Saccharine Trust,
Flamin' Groovies,
The Fugs,
Bang On A Can,
Steve Hackett,
Rhythm & Sound,
The Moody Blues,
Little Man,
Bill Near,
Marmalade,
LL Cool J,
Selector Dub Narcotic,
DJ Style,
Flipper,
Be Bop Deluxe,
Lower 48,
The Electric Prunes,
Gil Scott Heron,
Technova,
Ronan,
Heavy D & The Boyz,
Jacques Brel,
Sister Nancy,
The Smoke, The Smoke, The Smoke, The Smoke.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.